EKSEPTION

Neo-classical, early-enough Dutch Prog maestros Ekseption released their self-titled debut in 1969, housed [I must mention] in a sleeve with art (most/more) suitable for a compilation record representing the era; in a sense the art does hold up, yet feels generic, to say the least (or the nicest?). I've always been impressed with the little I've known from the band (seriously only this debut until a month ago), led by briefly-yet-will-be Trace keyboardist Rick van der Linden. Rick was fundamental to the band's sound and success, I'd firmly say, much like other [(co-)leading] keyboardists of this Proto- and early-Prog era, such as The Nice's Keith Emerson and Uriel/Egg's Dave Stewart (and, to a perhaps lesser extent in usually barely larger Rock ensembles, Mike Pinder of the Moody Blues, Soft Machine's Mike Ratledge, and Clouds' Billy Ritchie). Regardless, with the power of van der Linden, Ekseption's 'backing' ensemble should likewise be considered right on up there, and, here, right from the get-go.

In a truly unabashed, even gutsy manner--looking at it now, it would be suicide to be this basic, honestly haha--Ekseption begins with "The 5th", a rendition of Beethoven's ever famous, known-by-all Symphony No. 5 [Ya know: "Duh duh duh duh..."]. And its first 30 seconds or so is what I can only describe as a seemingly purposefully lo-fi sample of a symphonic recording of the piece, met soon enough and then completely replaced by the rhythm section (Peter de Leeuwe preforms a very Jazz-Rock beat on drums, each downward strike illuminated by Cor Dekker's warm, full bass). Rick's shining organ underlays the horns as they continue this first section (Rob Kruisman on sax, Rein van den Broek on trumpet, likely guitarist Huib van Kampen on tenor), and by the first minute, with the sample totally overshadowed, the favor switches to Rick's acoustic piano. The drums never drop out, leading to a very successful, gripping tension, as the keys are banged and the horns sing solemnly and forthright. I think, despite its now-obvious pitfalls, this is an excellent early-Prog Jazz-Rock tune, set to the tune of an unavoidably classic piece of classical music.

Up next is "Dharma For One", a forward-driving number written by Jethro Tull, naturally led by Kruisman's flute. This is pure Jazz-Rock. Clive Barker, Tull's drummer, co-wrote this piece with Ian Anderson, and boy does it show! We get an extended drum solo from de Leeuwe, and it's a mighty fine one at that. In that, of course, its staying power is only defined by the listener's feeling on the medium of drum solo. Is what it is. I liked it alright, certainly. Then we get the only Ekseption original, "Little x Plus". One of its winningest factors is the flute-backing sound of vibes (uncredited? or is it early keyboards putting in the work?). And then this rhythmic drone from the bass... Wowza. The theme is quite charming. Next is a familiar number, in both title and sonics, Aram Khachaturian's "Sabre Dance" . A playful number, they pull all the stops, utilizing their larger Rock ensemble numbers to their advantage, as horns dance around bright keys. The use of percussion, what sounds like congas, is likewise winning. Really great fun, and a lot less corny than you would expect from a composition such as this. And then Holy Sh*t, the piano solo!!! Yow! Wicked fast and, much like Hot Rats distinguished most certainly and importantly by multi-instrumentalist Mother Ian Underwood, the production of this sounds incredibly modern! It holds up. Big fan. Best thus far [and overall].

As if "The 5th" wasn't enough, they take a page right out of Procol Harum's book with "Air", and like Gary Brooker's inescapable mark on history, the beautiful "A Whiter Shade of Pale", it covers Bach's "Air on the G String". Remarkably still(!), "Air" not only put Ekseption on the charts in the Netherlands, but it hit their #1 spot! In as Baroque-modern a manner as possible, the lead is tenor sax. The piece opens up for a quirky shift into Jazz, and it honestly takes a few seconds, I thought, for the band to catch up to the change haha. The return to a near-straight-on rhythm is far more jarring though. Instrumentally, I think this does have it going on, the rhythm section really carrying the charge forward. It loosens again to a sort of Ringo-drag, which I'm always (all) for. Despite its strengths as mentioned, "Air" is only as 'Good' as its weakest points allow. In a funky, post-Jazz direction, "Ritual Fire Dance" is a rockin' rendition of this title by Spanish composer Manuel de Falla. This feels a bit more like the earlier 'exotic' experiments from this decade's first half.

Coming back to material just as familiar as the greats they've already covered here, George Gershwin's "Rhapsody in Blue" follows. And I think they do a fine job of distinguishing themselves on this cover! It's got a ton of energy and spunk. We enter the Bop as van den Broek solos on buzzing trumpet. And we get another win for Team Rhythm, with the drums and the bass just pushing out some wild, wild sh*t. This classical material is really funked up throughout, but just as good an example is "This Here", a composition by Bobby Timmons. Not counting the obvious Jazz-Rock in which we find ourselves in '69, it really does sound likewise early-60s (it's originally off Timmons' 1960 sophomore album). And this is so '60s, and really in the best way. It's got soul and character to spare. Next is "Dance Macabre Opus 40", a bombastic, truly Romantic composition by Camille Saint-Saens. The name is fitting. After its organ-led triumph at the start, the song didn't offer much. They're great players, but they've done that much more just a couple tracks ago. This is also the second time on the album we hear sampling of the original piece, presumably as originally intended. And finally, we get "Canvas", a Rock 'n' Roll number turned a little more Jazzy, originally performed by Brian Bennett, drummer of The Shadows. There are these really cool, tense moments at the song's bookends. I'd recommend, if you're a fan of what you hear here, checking out Bennett's original 1967 recording off Change of Direction. Ekseption is pretty true to the Bennett model.

Seriously, Ekseption is a great debut album, [List Time!] worthy of placement alongside other releases of this neo-classical persuasion and early, eclectic Jazz-Rock, such as Days of Future Passed, Shades of Deep Purple, The Family That Plays Together, Blood[,] Sweat & Tears, Those Who Are About to Die Salute You, Chicago Transit Authority, Hot Rats, Weasels Ripped My Flesh, Emergency! (Tony Williams Lifetime), Third, Emerson[,] Lake & Palmer, The Polite Force, Focus II, and anything out of The Nice's catalog. Tis good. Worth a listen, even if what you may find most appealing differs from me. Enjoy!